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Making the White Man's Indian. Native Americans and Hollywood Movies (Westport/CT and London: Praeger, 2005) ISBN 0-275-98396-X; Aleiss, Angela. "A Race Divided: The Indian Westerns of John Ford," American Indian Culture & Research Journal, 18 (2), Summer 1995, 25–34. Berkhofer, Richard. The White Man's Indian.
The Indian Arts and Crafts Act of 1990 defines "Native American" as being enrolled in either federally recognized tribes or state recognized tribes or "an individual certified as an Indian artisan by an Indian Tribe." [1] This does not include non-Native American artists using Native American themes. Additions to the list need to reference a ...
Black Arrow (serial) Black Cloud; Blue Gap Boy'z; Bone Eater; Bone Tomahawk; The Born Losers; Brave Warrior; The Brave (film) Breakheart Pass (film) Broken Arrow (1950 film) The Broken Chain; Buffalo Bill and the Indians, or Sitting Bull's History Lesson; Buffalo Dreams; Burros; Bury My Heart at Wounded Knee (film) The Business of Fancydancing
In the past, Western art historians have considered use of Western art media or exhibiting in international art arena as criteria for "modern" Native American art history. [47] Native American art history is a new and highly contested academic discipline, and these Eurocentric benchmarks are followed less and less today.
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At that time, the government did not have a separate census designation for Native Americans. Those who remained among the European-American communities were frequently listed as mulatto, a term applied to Native American-white, Native American-African, and African-white mixed-race people, as well as tri-racial people. [43]
Show Indians, or Wild West Show Indians, is a term for Native American performers hired by Wild West shows, most notably in Buffalo Bill's Wild West and Congress of Rough Riders. "Show Indians" were primarily Oglala Lakota from the Pine Ridge Indian Reservation , South Dakota .
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